Ubuntu (The Cape Town Project)
Directed by Daryl Cloran
Created by The Theatrefront Ensemble
January 21 – March 1 @ Tarragon Theatre
Mbulelo Grootboom in Ubuntu. Photo by Michael Cooper.
By Daina Valiulis
Imagine suitcases: piles of them, haphazardly arranged into three walls. These symbolic journeys we have taken or have yet to take are used to create the set of Ubuntu, Theatrefront’s newest collective collaboration, and they harmoniously encapsulate what the play is all about.
A young South African man, Jabba (Andile Nebulane), journeys to Canada to find his father, while a Canadian woman, Libby (Holly Lewis), tries to unlock the secrets of her mother’s past; through the unfolding events, they realize that the ghosts that haunt them are the same. The play deeply explores the idea of Ubuntu (rough translation: “I am because we are”), a South African concept about connection to our past, present, and future through our ancestors, our own communities, and across the world; in this case, it is also expressed through theatre’s connection to real life and an artist’s connection to his art.
Each character struggles with Ubuntu in their own way: Philani (Mbulelo Grootboom) comes to Canada and feels disconnected from his culture and traditions, both integral to who he is; Michael (David Jansen) learns what it means to find Ubuntu too late; and Libby and Jabba learn what it means to fully live it. The Theatrefront Ensemble does an incredible job expressing and exploring the theme both within the context of the play, and within the ensemble itself by weaving together South African and Canadian actors. Differing theatrical styles and traditions illuminate differences between the two cultures — but highlight that we all yearn for the same things.
This play had a great flow: efficient narrative, a poetic script, and beautiful, expressive choreography — not an easy achievement when working with so many different actors with so many different ideas. Director Daryl Cloran’s effective streamlining and focus was masterful, and the use of music and interesting staging took my breath away, particularly the scene staged with an overhead perspective. The set’s versatility — three revolving doors of suitcases, plus hidden closets and spaces — was economical and believeable.
It was delightful to witness the actors’ personal experiences woven into the fabric of the play. In my interview with Daryl Cloran and Holly Lewis, they told me how amazed South African actors Mbulelo and Andile were by the Canadian winter — in the play, Philani captures snow in an envelope to send back to his son in South Africa. He also purchases a parka in which he finally feels that he looks “Canadian”. Another theme was the connection between mother and child — Holly Lewis was pregnant during some of the workshops, bringing a real and genuine touch to the story.
The most striking thing, however, was how the differences of the actors’ performance styles became evident. All of the performers were incredible, but Andile Nebulane and Mbulelo Grootboom expressed themselves through every sinew. Their movements were more grounded, unreserved, and unapologetic, and seemed to extend beyond themselves and resonate in the space. This was most evident when Jabba phones home while the ensemble dances upstage. As committed as the Canadians were, there was something more naturally and physically expressive about the South African performers.
Theatre in Canada tends to be more intellectual, more reserved. We are trained to break down and analyze, rarely to express through dance and ritual. Instead of letting our differences alienate, however, Theatrefront explores what unites us as human beings. Ubuntu is not only the title and theme of the piece, but also the foundation upon which the company is built.
